About our Staff
Mark Linden has been in the entertainment post-production business since 1984. His film career was launched at Neiman-Tillar Associates; at the time the only independent audio film editorial facility in Los Angeles. Like many others Mark began working in the editorial sound industry using traditional magnetic film. As a developer and operator for Access; the first digital editing work station for post-production, Mark along with Neiman-Tillar Associates pioneered the conversion from Magnetic film to Digital Audio post-production. Neiman-Tillar Associates was the first facility in Hollywood to interface the Magnetic film editing and mixing process with the earliest digital technology. This facility was a leader in both technology and creativity, employing the top professionals in the field at that time. While at Neiman-Tillar, Mr. Linden worked on such projects as; Dynasty, TJ Hooker, Quincy, Fantasy Island, and many more of the top Television shows of the time. His early feature film work included; An Officer and a Gentleman, Breathless, Friday the 13th and many others.
Mr. Linden then expanded his scope of work to include documentary film and episodic television for a number of production companies. This work included many projects such as those for National Geographic, and the earliest reality television shows such as Cops, Rescue 911, Ripley’s Believe it or not, In Search of, and That’s Incredible, plus numerous movies of the week. He then created Third Street Sound which started his career as a facility owner/operator. He expanded on the Access system by incorporating newly developed technology such as Sound Tools, Q-Sheet, Waveframe, Synclavier and other new digital audio systems. Third Street became well known as a leader for its use of state of the Art digital technology interfaced with the older film technology that was still necessary to complete projects at that time. Third Street was a creative leader servicing the hot new independent film makers of the time; as well as one of the busiest facilities for all types of Television programming which earned Mr. Linden over 23 Emmy nominations and 10 Emmy wins.
In 1993 Mr. Linden opened his current facility, Stage Two Audio in Burbank. Since the creation of Stage Two, Mr. Linden has continued to adapt the traditional editing and mixing process to include current digital technology. This has created a comfortable and exciting work environment for old and new clients alike. By applying new technologies to old methods of film editorial and mixing, Stage Two has become a leader for both the old guard of Hollywood as well as young and innovative independent filmmakers alike. This list includes the creators of Napoleon Dynamite, Penelope Spheeris (The Kid and I, Decline of Western Civilization), Samuel Fuller (The Big Red One Reconstruction), and John Badham (War Games, Saturday Night Fever, and Blue Thunder).
Mark continues his endeavors to find creative solutions for the sound needs of the film and television industry, embracing new ideas and technologies while maintaining the integrity of Old-school standards.
Harry has brought his many years of creative and technical experience to partner with Mark Linden and Stage Two Audio. Harry is known as a top Sound Supervisor and Sound Designer – with numerous award nominations and was awarded an Emmy for his work on "Flight 93" for A&E. Prior to Stage Two, Harry’s career in the Hollywood film industry began while working at 20th Century Fox in 1988. Harry was one of the first sound editors to implement the use of electronic editing in sound via the use of an early audio editing system called Hybrid Arts ADAP. Seeing the potential of this kind of equipment and technology, he immediately saw the significance of audio and technology company Digidesign and immediately became one of their first Beta-testers and developers in Hollywood. For many years, Harry worked with Digi to tune their hardware and software to the needs of sound editors and mixers. Harry, along with a small group of other industry leaders opened the door for Digidesign in Hollywood by having Digidesign’s then “new-fangled” technology adopted by Fox and then shortly thereafter, by Universal Studios.
While at Fox, Harry was a sound supervisor and designer for many 20th Century Fox films including; PREDATOR 2 (Joel Silver), ALIENS 3 (David Fincher), ROBIN HOOD – MEN IN TIGHTS (Mel Brooks), BEVERLY HILLBILLIES (Penelope Spheeris) and HOT SHOTS - PART DEUX (Jim Abrahms). Harry also created sound for the pilot of the SIMPSONS during his work on the TRACEY ULLMAN SHOW. As Manager of Feature Sound Editorial, he archived the entire music library for the studio and helped save the immense music and sound effects library which was deteriorating due to vinegar syndrome. These vital transfers of eighty years of sound effects and music to digital format inspired Harry’s work today in his sound restoration of classic films. Additionally at Fox, Harry established his own post-production company on the 20th Century Fox lot, Visiontrax. This provided his first taste of building and managing a company as well as the opportunity to more effectively steer a team of people to create good work, on time and on budget.
Because of his pioneering efforts at Fox, Harry was asked to manage the post-production sound department at Universal Studios. As Director of Feature Sound Editorial he managed a large production staff, collaborated on projects with other studio departments such as picture editorial, theme park development, film/TV production and studio operations. He not only designed and supervised sound on many Universal film and television shows including; AMERICAN PIE (Chris Weitz) BASEKETBALL (the Zucker Brothers), MCHALE’S NAVY (Brian Spicer), LAW AND ORDER (Dick Wolfe), the Emmy nominated THE BEAST and ROAR, but was most critically known for his sound restoration work for such cinema classics as VERTIGO, REAR WINDOW and TOUCH OF EVIL. While at Universal, Harry continued to develop and implement new technologies that enabled his post-production team and Universal to move full speed into the digital era. One of his most challenging feats was designing and building the first network to be used within a post-production environment thus enabling the editorial and mixing staff to more easily collaborate on a film as a team. Harry’s technology work while at Universal, included developing and testing solutions for many other companies including Avid and Digidesign.
Harry Snodgrass earned his Bachelors of the Arts in Communications from Temple University in Philadelphia.